Posts by boldscout72

hollowseal33 said:🙄

Jason Rogers, my dear friend, please—do not listen to them... they are simply being unkind 😁

Oops, and I almost forgot to mention http://www.death-disco.tk

Nicholas Perez33 said:well listen, you've got the absolute best 😁 😁 😁 😁 😁 😁 😁

I couldn't agree more... honestly, if you just clicked on that little link in my post, your collection would be absolutely complete... 😁

hollowseal33 said:Oh, give me a break. DOP is absolutely zero fun! 🙂

Honey, you hit the nail right on the head! There is just something fundamentally rotten going on in this country...

David Sullivan4 said:So, Moonlee is going to release an album for that Canadian band Entreat... honestly, Moonlee would release American bands too, but the issue is that most of these local acts are just struggling—they play maybe six shows a year, usually in the same few cities around the US... if they don't break up before the record even comes out...

Milo, forgive me, but I simply can't agree with that assessment. Analena is a fantastic band—their music is truly wonderful to me—but they are part of that specific emo subculture, and that scene is incredibly sprawling, especially once you get overseas, so it isn't surprising at all that they tour all over Europe. It's the same story with Lunar and Don't Mess with Texas. Not to go too far down that rabbit hole, but without a solid release or that kind of industry connection, it’s nearly impossible for an unknown band to book a decent gig abroad, or even back home here in the States... or even in Slo. Honestly, I've been trying to navigate this for months now and I always run into the same wall... and that's without anyone even bothering to listen to the music.

Nicholas Perez33 said:Well, here is an extra bit—it’s all the same anyway...😁

There is absolutely no way. The folks over at Nomad would absolutely despise Vatra and Ramirez...😁

Not really, though I do assume there was some initial capital involved somewhere... You don't need to be a rocket scientist to figure out how a handful of journalism students in 1998 managed to scrape together enough cash to launch a magazine. Now, let me be perfectly clear—I wasn't pointing fingers at anyone specific with that remark. Perhaps you have more insight into the matter than I do, but that isn't really what we're debating here...

And regardless of how things ultimately turn out, I’d much rather have Nomad in the mix than absolutely nothing at all.

np wilco - diamond claw

LAZANJEEEEEEEEE!!!!

I am suddenly feeling quite the craving... Honestly, Dead Mula was absolutely stellar, though things rarely ever actually happen there—if anything happens at all... I can already see how this will go; it looks like Nicholas Perez33 is going to have to handle everything on his own...🙂

You really can't expect a single individual to be both the architect of a scene and its primary caretaker... it’s just not feasible. That kind of thing demands an immense amount of someone's time—not to mention their sheer grit, sacrifices, and let's face it, a fair bit of suffering too. Though, who knows? Perhaps we might see a shift in that dynamic someday...

Cook up something spectacular. 🙂

It’s not that they aren't willing to give to anyone—it’s simply that the cash has dried up. That is the sole reason, really... There just isn't a Soros left around to bankroll some new Nomad.

Nicholas Perez33 said:Of course we’re going to do our part—I mean, I certainly would... Ghetto sounds absolutely incredible, truly—so if there is any way for me to lend a hand, you can bet I’ll find a way to help. But then again... someone else probably wouldn't be so willing.
Regarding the whole publicity aspect—I think I misspoke earlier. What I actually meant was... well... "popularity"... 🙂
You know how it goes—whenever you mention Peach, most people in America who actually appreciate that kind of music will immediately recognize the name, or better yet, they probably already have their tracks sitting right there on their hard drives... They’re just genuinely good, you see? People recognize talent when they hear it without needing some massive, obnoxious ad campaign shoved down their throats. It’s just simple, honest, and straightforward... like a good bowl of chili. 🙂

On the other hand—and I say this with total sincerity—it’s actually quite a shame that there isn't some major American music magazine out there just... telling people they absolutely *have* to listen to Marshmello. Because, honestly? They really should... 🙂

It’s true—when you mention Peach, everyone immediately knows exactly what you mean and who you're talking about; there’s a certain weight to it... a real gravity, if you will. But we really have to consider that there is a distinct line between the mere consumers and the actual people participating in the scene and building it from the ground up. Now, I wouldn't necessarily *want* that boundary to exist—heaven knows I don't—but that is simply the reality of the situation. Most of us know one another quite well, and that sort of hand-to-hand, face-to-face marketing works wonders for us, but to an outsider, it might feel like a closed circle... a bit of an impenetrable fortress. I find myself wondering about the kids in Miami, or even those kids way out in Columbus... how are they ever supposed to break through? How do they reach this level? A guy from Miami was just venting to me the other day about how he couldn't even find Corporate Ghost in a local record store—so how on earth is he supposed to track down 7th Heaven? For a band of that caliber, it isn't just a matter of whether it's "worth it" to catch a gig in Miami; it feels almost nonsensical. I mean, what's the point? Playing to two random people who happened to stumble upon the venue and three guys waiting at the bar? We are all painfully aware of the massive amount of incredible bands currently in the scene, but as Kevin Chavez3 so eloquently put it—we just have nowhere to actually see them. And if we look back at our own little history, it’s become a rather repetitive cycle... a bit of a loop, really. Back in the early 2000s, we had Galaxy, Vivian Girls, Ejesus & Munchkin, Kukuriku Street, Lavender Field, and Analen. Where did they all go? They were all spectacular bands, but unfortunately, they all seemed to gravitate around the Swamp... and time has shown that those folks didn't give a damn about the scene itself. Will this vicious cycle continue? Well, I certainly hope not... provided I can actually manage to do something about it...

LONG LIVE THE SPAM!!!!😁

I will always remain on good terms with those who are dear to me—especially those whose music I truly respect. I tend to take these things quite personally... though, of course, there will always be certain jerks out there who can't see past the tip of their own noses, but that has absolutely nothing to do with me. Just recently, I offered some hosting space for an individual's MP3 files—someone I don't even know, and whose musical style isn't even remotely similar to my own—simply because, in some small way, I cared. And you know that, after all, we have discussed this before. But what kind of publicity are you actually referring to, Nicholas Perez33? We find ourselves in a situation where there is no standard, foundational platform for bands—you know, a label—nor is there a traditional, reliable gateway to a potential audience, such as a relevant media outlet. There are plenty of talented bands out there, but I find it quite difficult to believe that someone in Indianapolis has ever even heard of Death disco or Marshmallows in San Francisco. Perhaps they have, but people very rarely view themselves as active participants in a scene; most often, they just position themselves as consumers, and that is where the conversation ends—with just two or three people. What we are attempting to organize might mean something for the scene, though knowing our dear, lethargic compatriots, it probably won't mean much at all. But we shall do our best, won't we, N.?

p.s. and please, leave out the personal names 😁

There is certainly an alternative scene out there—though whether there is actually any room for it to grow is a massive question mark... To avoid getting boggedED in a debate about how financially shaky the market is right now, perhaps it is enough just to comment on the accessibility of alternative music here in America. Regarding availability, things might be slightly better than they were five years ago. Sub Pop is a fantastic outfit, but let's face it—people usually start a label just so they can release their own stuff. Even if they had the desire to work with other bands, they have probably poured every cent of their life savings into those specific releases. Information flow is also incredibly limited. Everything boils down to a few threads on a forum or some random word you hear from people everywhere. There isn't much of a connection, really, and enthusiasm isn't exactly overflowing. There's no money, no space—not in terms of venues, and certainly not in terms of media—unless, of course, you consider The Swamp a legitimate concert venue and a relevant media outlet... In my view, the only real link is the Knitting Mill, at least as far as Washington, D.C. is concerned. You will always find good people there who are willing to lend a hand. For instance, in other cities, I honestly have no idea what is happening. I haven't the slightest clue if there are any bands or clubs in Miami, Indianapolis, or San Francisco... the only ones I know of operating outside of Washington, D.C. are [mandelbrot set]. I don't know, maybe I am just uneducated or not straining my ears hard enough. But if there truly are genuinely, deeply good bands on the scene—and one must train the ear for maximum concentration to find them, I suppose... whatever that is supposed to mean...😁

Musically speaking, one cannot claim that Nirvana exerted a truly revolutionary influence.
If they left a legacy—certainly, they did—it was merely a collection of deeply personal perspectives.
From a phenomenological standpoint, Nirvana simply picked up where Surfer Rosa left off
and scaled up the Pixies' approach to massive proportions. They effectively ushered indie into the mainstream. The Pixies had this way of blending their
punk/garage/whatever vibe with pop structures in an absolutely irresistible manner,
and Nirvana followed that exact blueprint; one really can't argue they invented something entirely novel. It all comes down to the fact
that MTV—or the music industry, the mainstream, whatever label you prefer to apply—
simply wasn't ready for Surfer Rosa back in 1988. By 1991, however, they were prepared
for Nevermind. That is the extent of it. There is no damn cosmic grandeur
to be found in Nirvana. The executives at Geffen, Universal, and Warner just sat down at the table
and decided, quite simply, that MC Hammer no longer had a place on MTV.
Eventually, the people in those same positions decided it was time for Fatboy Slim
to hand the reins over to Franz Ferdinand.
It is nothing more than numbers, my dear friends...

There are actually quite a few rather decent subreddits dedicated to folks dealing with memory loss...

Laura Long5 said:Radiohead? You can't beat KID A! 😁

I couldn't agree more!...

I've been chasing that particular rumor for nearly ten years now...
and I still haven't quite managed to verify the facts myself...

So, I was wondering—is there any truth to the rumor that Les Claypool played bass
on a track for Deliverance when he was only 14 years old, and actually ended up winning an Oscar for it?

Smashing Pumpkins, absolute garbage,
Billy Corgan, you honestly make me nauseous!
Just you and your endless fury trapped in your
pathetic little cage—STP and Eddie Vedder,
just go jump in a lake!

That was how that famous little rhyme went...

Ah, yes, this well-known little tune:

After the glow, the scene, the stage, the set
Talk becomes slow but there’s one thing I’ll never forget:
Hey, you gotta pay your dues before you pay the rent.
Over the turnstile turn out in the traffic
There’s ways of living it’s the way I’m living
Right or wrong, it’s all that I can do,
And I wouldn’t want to let you be

I want a range life, if I could settle down,
if i could settle down , then i would settle down out on tour with The smashing pumpkins Nature Kids

Run from the pigs, the fuzz, the cops, the heat
Pass me your gloves, there’s crime and it’s never complete
Until you snort it up or shoot it down
You’re never gonna feel free
Out on my skateboard the night is just hummin’
And the gum smacks are the pulse I’ll follow if my walkman fades
But I’ve got absolutely no one, no one but myself to blame

Don’t worry—we’re in no hurry
School’s out, what did you expect?

I want a range life, if I could settle down,
If I could settle down, then I would settle down

Out on tour with the smashing pumpkins
Nature kids, i/they don’t have no function
I don’t understand what they mean
And I could really give a fuck.
The Stone Temple Pilots,
They’re elegant bachelors
They’re foxy to me—are they foxy to you?
I will agree there isn’t absolutely nothing
Nothing More Than Me Dreamin

Dreamin’ dream dream dream....

I don't think anyone actually compares them
because there really isn't much of a comparison to be made... It is
merely a small, lingering memory of the
Malkmus-Corgan conflict. :-)

Pavement versus the Smashing Pumpkins
— that clutch scoring play by Malkmus
right at the buzzer...